1,720,964 research outputs found
Witold Gombrowicz in the Kaleidoscope of Reception
No full textSeen through the perspective of reception, the works of Witold Gombrowicz constitute a wide range of receptive proposals, selectively updated in the constant dynamic of the interactive discourse between the literary subject and the reader. The reader is invited in a covert partnership with his communication peer (the author–the producer) in their joint journey to the own polyphonic, unidentifiable, mutational ego. The relation to the self, as permanently disputed by otherness, finds its artistic application through the comic as the most powerful weapon against the Form, both in the field of the author and of the recipient
Witold Gombrowicz w kalejdoskopie recepcji
Full text linkSeen through the perspective of reception, the works of Witold Gombrowicz constitute a wide range of receptive proposals, selectively updated in the constant dynamic of the interactive discourse between the literary subject and the reader. The reader is invited in a covert partnership with his communication peer (the author–the producer) in their joint journey to the own polyphonic, unidentifiable, mutational ego. The relation to the self, as permanently disputed by otherness, finds its artistic application through the comic as the most powerful weapon against the Form, both in the field of the author and of the recipient.Seen through the perspective of reception, the works of Witold Gombrowicz constitute a wide range of receptive proposals, selectively updated in the constant dynamic of the interactive discourse between the literary subject and the reader. The reader is invited in a covert partnership with his communication peer (the author–the producer) in their joint journey to the own polyphonic, unidentifiable, mutational ego. The relation to the self, as permanently disputed by otherness, finds its artistic application through the comic as the most powerful weapon against the Form, both in the field of the author and of the recipient
COMMUNICATIVE AND COLLOQUIAL “ARSENAL” OF ART LANGUAGE IN THE GROTESQUE DOMINATED CREATIVITY OF WITOLD GOMBROVICH
Full text linkThe communicative dynamics created and supported by the colloquial “elements” of the art text arises in the field of complex interaction of a variety of elements of language, metalanguage and extra-language nature The image of the Reader “inlaid” in the consciousness of the Author is like “dictating the password” needed to open the philosophical and aesthetic discourse in the art-”colloquial” environment, participating in the text-formation process, “prompting” own expectations, asking questions the Author “answers” with the new questions This interactive-interrogative exchange sets in motion the powerful colloquial circulation “rotating” both the text and the extra-text space, at the same time accompanied and recreated by the grotesque artistic manner of expression
ASPECTS OF CASE (ON THE MATERIAL OF POLISH LANGUAGE)
No full textThe author of article does the attempt of spatial reallocation of the existing conceptual and architectonic paradigm (in Polish), proceeding from perceptual and convergent inter-case (in the sense of traditional case subcategories) "gravitation". Therefore the taxonomical dominant, consolidating case values, subordinated to it in a varying degree, is made out. In this process the tendency to redistribution of the values, belonging to the same traditional case subcategory, in the direction to other spatial and case dominant, is quite logically planned
THE ROLE OF PHRASEOLOGICAL INNOVATIONS IN GROTOSHEGENESIS (ON THE MATERIAL OF CREATIVITY VITOLD GOMBROVICH)
No full textThe purpose of the present study is to have phraseology studied as the axial centre, around which the grotesque expression consolidates and builds. Within its scope, the phraseological turns are polyfunctional – apart from being a semantic core, they play the role of a grotesque catalyzer, of a limus for inventiveness and creativity of the productor, of a deictic marker, focusing, guiding and facilitating reception and the role of an expressive miniature, which in itself may be a significant representation, a verbal and visual ‘abstract’ of the grotesque panel. The distinct impressiveness of phraseologisms raises the communicative tone in the grotesque zone and unceasingly kindles the dialogue between Author and Reader. The phraseological field is subject to a sustained, active and intense interest on the part of the specialists but it has not been studied so far as the appropriate soil for comedogenic (and in particular grotesque triggering) operations.
COGNITIVE-PRAGMATIC RANGE OF PARODY
Full text linkIn the research the attempt of a new definition of parody concept is made, new qualifications of the parody are emphasized in a pragmatic point of view, the terminological apparatus is enriched with new offers in the perspective of a speech acts complex, some established characteristics of the category are modified and specified. The genetic relatedness of irony with the parody is highlighted
The city and the country – a clash of values in Olga Tokarczuk’s works
No full textMiasto i wieś cechują odmienne kultury i odmienne zespoły wartości, które nie tworzą systemu zhierarchizowanego. Dynamiczna i pozornie postępowa kultura miasta pod wieloma względami ustępuje kulturze wsi, która stwarza lepsze warunki dla rozwoju osobowości, zaszczepiając jej ponadczasowe wartości. Twórczość Olgi Tokarczuk udowadnia tezę, że kultura wsi pobudza komunikację człowieka ze światem. Zaniechanie i zablokowanie tej komunikacji wróży egzystencjalną klęskę podmiotu. Holistyczne i syntetyczne myślenie o świecie, charakterystyczne dla człowieka wsi, daje mu pierwszeństwo w zmaganiach się z wyzwaniami losu. Radzi on sobie w życiu zdecydowanie lepiej niż mieszkaniec miasta. Wtopiony w naturę, gdzie sprawdza swą płynną, metamorficzną tożsamość i omnikomunikatywne zdolności, człowiek wsi czuje się integralną częścią Kosmosu. Współbrzmi z czasoprzestrzenią i nie odczuwa paraliżującego lęku, płynącego z „poszatkowania” czasu i przestrzeni. Kiedy miasto nasiąknie zbawczą energią wsi, dowodem czego jest jednocząca społeczność muzyka, człowiek poczuje ożywcze wpływy zintegrowanej całości obu przestrzeni.The city and the country are distinguished by different sets of values that are not arranged into a hierarchical system. The dynamic and seemingly progressive culture of the city, in many respects, falls short of the culture of the country, which in many ways creates better conditions for the development of personality through instilling timeless values. Olga Tokarczuk’s work demonstrates that the culture of the country stimulates human communication with the world. Ignoring and blocking this type of communication may lead to an existential defeat for the individual. The holistic and synthetic thinking about the world, characteristic of the country person, gives them an advantage in the struggle with the challenges of fate. They cope far better than city dwellers. Close to nature, testing their fluid, metamorphic identity and omni‑communicative abilities, the country person feels to be an integral part of the Cosmos. They are in harmony with Space‑Time and do not experience the paralyzing fear of the rupture of Time and Space
"MYTH" ABOUT THE INFINITE AFFECTIONATION OF DIMINUTIVE WORDS IN THE NOVEL “SPACE'” BY WITOLD GOMBROWICZ
Full text linkThis article counters the popular today idea regarding the myth as the synonym of delusion, or the anachronistic idea of something. It recovers its unending relevance as the axial construct of human existence and individual experience. The capacity of diminutives to destroy the illusion of the prevailing endearment in their emotional range and to be affirmed as mini-compendiums of mythological experience, constituted of an impressive poly-functional ensemble, as illustrated with examples from the works of Gombrowicz, is being put forth. The mediator role of diminutives within the communicative exchange between the individual and the Cosmos also unveils their ironic and form-destructive potential
IN THE SEARCH FOR SELFNESS THROUGH THE PRISM OF THE COMPREHENSIVE DIALOGUE (in relation to one exhibition – competition)
Full text linkIn the dialogic interaction between the creators, sharing ideas, aesthetic messages and original plastic visions the discoveries are born; from time to time these periodically crown an endless searching process - painful, but compelling with challenges. The “vocation” of this undying zeal is to highlight the “selfness” of the object, its identifying integrity through the comprehensive spiritual and aesthetic penetration, and not undermine it with partial or undecided contiguities. Only this way the artwork can live independently and become a spiritual breathing entity. The initial non-cognoscibility of the object, as well as that of the world, through selfless cognitive and artistic approaches, becomes the illusory, but rescue platform for the aesthetic transcendence. Even the “angular” illumination of the object, through the piercing and lit up look of the artist, covers it with completeness in order to make the impossible less impossible.
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